Beard Necessities (Winston Brothers, #7) yuri

Download Audiobooks Der Tod in Venedig By Thomas Mann –

european men, stay put seriously, nothing good ever happens to you when you leave whatever small european town you are from and venture into the wider world whether it is gide and tunisia, conrad and the congo, robbe grillet with wherever that was, various graham greenes statistically, there will be temptations which you are not equipped to resist and you will either succumb or drive yourself to humiliation and despair with the wanting to succumb and i totally get it different surroundings, absence of judgmental peer group, it s vacation morality when i was in prague, i totally stole a guinness mug from the irish pub i fell in love with so i am no stranger to a wild life of crime and transgression i left the children alone, though for the record, lawrence durrell is totally exempt from this advice, although since he is dead, it doesn t really matter and just so we re clear i only read death in venice the other seven stories can go screw for now this is just book club fare, and if i have time in my life to readtroubled intellectual germans, i will know where to turn but for now, i must bake book club cake and enjoy my free snow day.readers, thinkers, and drinkers feb 2010 Featuring His World Famous Masterpiece, Death In Venice, This New Collection Of Nobel Laureate Thomas Mann S Stories And Novellas Reveals His Artistic Evolution In This New, Widely Acclaimed Translation That Restores The Controversial Passages That Were Cut Out Of The Original English Version, Death In Venice Tells About A Ruinous Quest For Love And Beauty Amid Degenerating Splendor Gustav Von Aschenbach, A Successful But Lonely Author, Travels To The Queen Of The Adriatic In Search Of An Elusive Spiritual Fulfillment That Turns Into His Erotic Doom Spellbound By A Beautiful Polish Boy, He Finds Himself Fettered To This Hypnotic City Of Sun Drenched Sensuality And Eerie Physical Decay Also Included In This Volume Are Eleven Other Stories By Mann Tonio Kroger, Gladius Dei, The Blood Of The Walsungs, The Will For Happiness, Little Herr Friedmann, Tobias Mindernickel, Little Lizzy, Tristan, The Starvelings, The Wunderkind, And Harsh Hour All Of The Stories Collected Here Display Mann S Inimitable Use Of Irony, His Subtle Characterizations, And Superb, Complex Plots Read Death in Venice Love and Death No wonder Woody Allen referenced the story in Annie Hall Aschenbach, a writer in his fifties, an artist raised by the Kaiser to the aristocracy, sees the boy god Tadzio on a beach in Venice and promptly loses his reason It s a very human story Who hasn t lost their head over someone The references to Plato s Symposium are spot on The prose might be a little dense for some I enjoyed it but found it excruciating, so affecting is its theme In that sense it reminded me of Knut Hamsun s Pan, another tale of love run amok Though at least in Pan there s consummation In Death in Venice the lovers never exchange a word, only glances Anyway, this is what fiction can do By the way, this is the preferred translation according to The Oxford Guide to Literature in English Translation, ed Peter France I d like to hear from anyone who s read Joachim Neugroschel s version and the original German. Elements in a Composition Death in Venice was published in 1912, when Thomas Mann was 37 The protagonist is in his mid 50 s.Both Mann and his wife, Katia, acknowledged that virtually all of the elements of the plot were modelled on their trip to Venice in 1911 However, I don t see any value in trying to analyse the novella as an exploration of Mann s own homoeroticism Mann had to choose, prioritise, sublimate and arrange his inspiration as elements in a composition I d prefer to approach the novella on the basis that it addresses abstract issues that were of concern to Mann for the whole of his life Indeed, most of them were of equal concern to Goethe, Nietzsche and Freud, not to mention Socrates and Plato before them and Nabokov subsequently To paraphrase Anthony Heilbut, I d prefer to contemplate the metaphysical implications than the sordid reality I don t really care if there was a sordid reality Overindulged Intellect, Overcultivated Erudition Gustav von Aschenbach is a prominent writer who has achieved critical, popular and official success He has his father s sober, conscientious nature an Apollonian influence and the darker,fiery impulses of the mother a Dionysian influence.Though he had passed through a libertine chrysalis stage , he had never truly known leisure, the carefree idleness of youth,he hadstumbled in public, made false moves, made a fool of himself, violating tact and good sense in word and deed Yet he eventually gained the dignity to which every great talent feels instinctively drawn In the manner of his father, he had overindulged the intellect, overcultivated erudition , combined the rapture of the will with clever management and so never managed to become an incorrigible bohemian.He was married, but soon after became a widower with a daughter who is now married He is unencumbered by any significant female presence.An experience while waiting for a tram rattles his composure In a scene that foreshadows the primary drama of the novella, Aschenbach scrutinises a relatively nondescript male in a bast hat who looks at him so belligerently, so directly, so blatantly determined to challenge him publicly and force him to withdraw it This experience awakened in him a latent desire, and this desire sported eyes He learns to look, he learns to see, he learns, perhaps, to gazeHis imagination conjured forth the earth s manifold wonders and horrors in his attempt to visualize them he saw While he has always been averse to diversion and no lover of the external world and its variety , he feels an urge to flee his work, the humdrum routine of a rigid, cold, passionate duty Aschenbach s flight from diligence witnesses him depart to Venice, a city which is half fairy tale and half tourist trap.He has succumbed to a Wanderlust The Lust of the WandererOne purpose of the trip might be to satiate not just Aschenbach s need to wander, but his lust as well.Not only does Aschenbach embark on a journey into the outside world, but he commences a journey into his own psyche.Again, Mann uses a double to foreshadow what is to come, this time by describing the atmosphere of one of Aschenbach s novelsElegant self possession concealing inner dissolution and biological decay from the eyes of the world until the eleventh hour a sallow, sensually destitute ugliness capable of fanning its smoldering lust into a pure flame, indeed, of rising to sovereignty in the realm of beauty pallid impotence probing the incandescent depths of the mind for the strength to cast an entire supercilious people at the foot of the Cross, at their feet an obliging manner in the empty, punctilious service of form the life, false and dangerous, and the swiftly enervating desires and art of the born deceiver This language of dissolution, decay, destitution, ugliness, impotence, superciliousness, punctiliousness, deception hints at the nature of Aschenbach s inner desire However, I prefer the view that this pejorative language is intended to describe not the nature of his desire, but the consequences of repressing it To the extent that we repress desire, we are inauthentic The Journey to ElysiumThere is a duality in the journey It seems to be genuinely life affirming, but it recognises the inevitability of Aschenbach s death which is foreshadowed in the title of the novel.Mann describes the journey in terms of the Elysian FieldsThen he would feel he had indeed been whisked off to the land of Elysium, to the ends of the earth, where man is granted a life of ease, where there is no snow nor yet winter, no tempest, no pouring rain, but only the cool gentle breath released by Oceanus, and the days flow past in blissful idleness, effortless, free of strife, and consecrated solely to the sun and its feasts1, 2Implicit is not just the promise of a certain joie de vivre, but perhaps also a joie de mort.It s arguable that Elysium represented both the beginning and the end of Aschenbach s life, perhaps the realization of his life It is a place where the quick and the dead, mortals and immortals, men and gods are one.The Middle of the JourneyOn the ship out, Aschenbach experiences another potential double, an ugly version of himself an older man consorting with youths, dressed in an extravagantly cut, foppish, gaudy suit with a rakishly uptilted Panama hat does the hat maketh the man , whom he describes as a superannuated dandyit was repugnant to behold the state to which the spruced up fossil had been reduced by his spurious coalition with the young he displayed a pitiful exuberance, buttonholing everyone who came up to him, jabbering, winking, sniggering, lifting a wrinkled, ringed finger as a part of some fatuous teasing and licking the corners of his mouth with the tip of his tongue in a revoltingly suggestive manner Note the almost vicious assonance spruced up, reduced, spurious, exuberance, fatuous, suggestive which might owe something, if not everything, to the translation Clearly repulsed, Aschenbach describes his feelings in terms of warping bent, twisted, distortedHe had the impression that something was not quite normal, that a dreamlike disaffection, a warping of the world into something alien was about to take hold Aschenbach watched him with a frown, and oncea feeling of numbness came over him, as if the world were moving ever so slightly yet intractably towards a strange and grotesque warping, a feeling which circumstances kept him from indulging in The Weft and the Warp in the Social FabricThe reference to indulging seems to suggest that he might have participated, but for the circumstances that intervened.This dualism is woven into the fabric of the novel, it is its weft and warp As Aschenbach summarises the events of his voyage, he remarksThe observations and encounters of a man of solitude and few words are at oncenebulous andintense than those of a gregarious man, his thoughtsponderable,bizarre and never without a hint of sadness Images and perceptions that might easily be dismissed with a glance, a laugh, an exchange of opinions occupy him unduly they are heightened in the silence, gain in significance, turn into experience, adventure, emotion Solitude begets originality, bold and disconcerting beauty, poetry But solitude can also beget perversity, disparity, the absurd and the forbidden Solitude can breed aberrant or deviant behavior Society is a leveler, a normaliser Wretched Figure Mann hints at this duality earlier when he summarises Aschenbach s novel Wretched Figure , about a character who acts out of debility, depravity, or ethical laxity.Aschenbach s creative process reflects a moral rigor or ossification as he abandoned his youthful embrace of the existentialist abyss He had sided with convention, and cast out the non conformistThe power of the word by which the outcast was cast out heralded a rejection of all moral doubt, all sympathy with the abyss, a renunciation of the leniency implicit in the homily claiming that to understand is to forgive, and what was under way here, indeed, what had come to pass was the miraculous rebirth of impartiality, which surfaced a short time later with a certain mysterious urgency in one of the author s dialogues Was it an intellectual consequence of this rebirth, this new dignity and rigor, that at approximately this time critics observed an almost excessive intensification of his aesthetic sensibility, a noble purity, simplicity, and harmony of form that henceforth gave his artistic production so manifest, indeed, so calculated a stamp of virtuosity and classicismThe Aesthetic FormStill, Aschenbach speculates that this moral rigidity contains a paradoxdoes not moral fortitude beyond knowledge beyond disintegrative and inhibitory erudition entail a simplification, a moral reduction of the world and the soul and hence a concomitant intensification of the will to evil, the forbidden, the morally reprehensible And has not form a double face Is it not moral and immoral at once moral as the outcome and expression of discipline, yet immoral, even antimoral, insofar as it is by its very nature indifferent to morality, indeed, strives to bend morality beneath its proud and absolute scepter Something powerful has occurred in these Nietzschean words.The type of erudition that Aschenbach targets is inhibitory, repressive, inauthentic and disintegrative It creates a false dichotomy, which ironically intensifies the lure of evil.Equally importantly, Aschenbach has severed form, beauty and aesthetics from the realm of morality This permits the remainder of the novel to concern itself with beauty, desire and the gaze, free of moral connotations.It s up to us, the readers, to determine whether this quest is legitimate.The Beauty of TadzioThis is when a beautiful long haired blonde 14 year old Polish boy called Tadzio comes into the picture.As would later be the case with Lolita , this sentence might be less disturbing for readers, if the boy s age began with a digit other than 1.I wish to postpone my discussion of hebephilia to the aesthetic or metaphysical issues I also want to divorce the metaphysical issues from any concern whether the relationship is homoerotic or heteroerotic.Aschenbach first spies Tadzio while seated on the promenade outside his hotelAschenbach noted with astonishment that the boy was of a consummate beauty his face pale and charmingly reticent, ringed by honey colored hair, with a straight nose, lovely mouth, and an expression of gravity sweet and divine recalled Greek statuary of the noblest period, yet its purest formal perfection notwithstanding it conveyed a unique personal charm such that whoever might gaze upon it would believe he had never beheld anything so accomplished, be it in nature or in art The response is an aesthetic one It focuses on formal perfection as if the boy was a work of art, a classical Greek statue To the extent that he is beautiful, he is also divine, a product or act of the gods However, Mann goes further than pure artistic analysis Aschenbach observes a unique personal charm, one that might not be found in either nature or art Mann elaboratesGood, good, thought Aschenbach with that cool, professional approval in which artists encountering a masterpiece sometimes shroud their delight, their excitement I m interested in his choice of the word, shroud , which could mean either clothe which is relatively neutral or hide If the latter meaning was intended, then it introduces a sense of disingenuousness or insincerity.Divine BeautyLater, Aschenbach describes the statue as godlike He associates beauty with the divine It is how the divine manifests itself on earth Beauty is perfection of form, and perfection is representative of the divineHis eyes embraced the noble figure standing there at the edge of the blue, and in a rush of ecstasy he believed that his eyes gazed upon beauty itself, form as divine thought, the sole and pure perfection that dwells in the mind and whose human likeness and representation, lithe and lovely, was here displayed for veneration Aschenbach quotes Socrates to PhaedrusFor beauty, my dear Phaedrus, and beauty alone is at once desirable and visible it is, mark my words, the only form of the spiritual we can receive through our senses and tolerate thereby Think what would become of us were the godhead of reason and virtue and truth to appear before our eyes Hence beauty is the path the man of feeling takes to the spiritual, though merely the path, dear young Phaedrus, a means and noThe sight of true beauty unsettles Aschenbach, as if he had never experienced it in nature or in art beforeThis was intoxication, and the aging artist welcomed it unquestioningly, indeed, avidly His mind was in a whirl, his cultural convictions in ferment his memory cast up ancient thoughts passed on to him in his youth though never yet animated by his own fire Gazing at Tadzio forces Aschenbach to cast off his moral rigidity He now resides solely within the aesthetic and therefore, the spiritual sphere, or so it would seem.Platonic FormsThe word form is vital to Mann s analysis of beauty It reflects Plato s theory of Forms or Ideas It s probably also worth mentioning Kant in this context but that s a whole other story The ideal form is the path by which beauty allows us to travel to divinity or spirituality Mann appears to poke fun at the idea as wellTired yet mentally alert, Aschenbach whiled away the lengthy meal pondering abstract, even transcendental matters such as the mysterious connection that must be established between the generic and the particular to produce human beauty and moving on to general problems of form and art only to conclude that his thoughts and discoveries resembled certain seemingly felicitous revelations that come to us in dreams and after sober consideration prove perfectly inane and worthless Again, it s difficult to determine whether this apparent aside is designed to undermine our perception of Aschenbach s sincerity.The Subject s Relationship with the Object of BeautyOnce an object of beauty exists, we can look at and see it We gaze at it We desire it Our desire sports eyes To reverse the order of Socrates dictum, beauty is both visible and desirable.The object of my desire is a vehicle through which I can experience something beautiful, feel good, and witness something divine, godly or spiritual.The German word Sehnsucht describes the sense of longing, yearning or craving for the object of desire, as well as the sense that something is missing or incomplete feels this Sehnsuchtacutely, because he is a writer Again, he cites Socrateswe poets cannot follow the path of beauty lest Eros should join forces with us and take the lead passion is our exultation and our longing must ever be love such is our bliss and our shame Our longing manifests itself as love So it is that Aschenbachwhispered the standard formula of longing impossible here, absurd, perverse, ridiculous and sacred nonetheless, yes, still venerable even here I love you Yes, Aschenbach has made a silent declaration of love, but has he made a fool of himself again Lust in LongingThe perception of beauty gives the subject an experience of the divine This allows the subject to internalize the divine.Mann Aschenbach uses this mechanism to describe a paradoxAnd then he Socrates made his most astute pronouncement, the crafty wooer, namely, that the lover isdivine than the beloved, because the god dwells in the former, not the latter, which is perhaps the most delicate, most derisive thought ever thought by man and the source of all the roguery and deep seated lust in longing Socrates describes the desire for a whore or a comely maid as lust, whereas a man s desire for his wife is love, even though it is also part lust.Perhaps, the quotation of Socrates is directed at the dissociation of love and lust, where lust dominates, in which case it constitutes roguery.While Aschenbach does not consummate his love or longing for Tadzio, some readers might believe that his love is mere rationalization of his lust.Transgressive LustI don t consider homoerotic love to be transgressive The gender of the love object is personal to the subject I aminterested in the metaphysics and the mechanisms of desire, lust and love and their mutual fulfillment than the gender of the object.I also don t see any point in trying to analyse Mann s personal views on homosexuality within a literary context I think that he places all forms of love within the same metaphysical framework I believe that beauty, desire, lust and love are subjective Each of us carries around in our mind a form , which we apply to each object upon which we gaze To the extent that the object and the ideal conform, we find it beautiful and we feel good Social standards and ideals of beauty might impact on us, but that does not detract from the subjectivism of our own preferences.You Can Look, But You Can t TouchReaders might wish to form a view with respect to Aschenbach s hebephilia.This is a moral and legal issue determined and enforced by social sanction Mann suggests that Aschenbach lost his moral compasswhen he sat in the morning by the sea, his gaze heavy, injudicious, and fixed resting on the object of his desire, or when, as evening fell, he resumed his undignified pursuit through the narrow streets clandestinely haunted by loathsome dying, things monstrous seemed auspicious and the moral code null and void However, apart from thinking and stalking, Aschenbach never actually did anything either immoral or illegal He never consummated his passion for the object of his desire He might have had a cosmetic makeover, he might have been in search of his lost youth , but he did not transgress with any other lost youth I think he was genuinely in love.Sun, Leisure and Sea BreezesAschenbach s journey took him to the edge of the Elysian Fields, the edge of the sea, Oceanus, a beach where the sun diverts our attention from the intellectual to the sensual Tadzio was the metaphorical vessel by which he arrived there.As we can glean from the title, Aschenbach also died there As Aschenbach dies in his chair, Mann plays around with the identity of the perspective he is describing At first, it is Aschenbach s, then it appears to be Tadzio s, then it reverts to Aschenbach Each one gazes at the other.I suspect that Mann s intention was to transmit Aschenbach s aesthetics to Tadzio, if he did not already subconsciously share them.If we remove the hebephilic issue by substituting a consenting adult object, then the novella is an eloquent argument not to repress desire, except within moral and legal limits It is the overindulged intellect , overcultivated erudition that is disintegrative and inhibitory, and therefore unhealthy Mann was trying to integrate the Apollonian and the Dionysian spirits I still think it s a good idea. Don t know if I ve read all these stories or not, so the rating is primarily for Death in Venice I remember not very well reading it years ago, and just now scanned it again.That scanning was enough to convince me it fulfilled all my criteria for a 5 star read But now I must still go back and read itcarefully Not because I might change my mind, but because I know I ll enjoy it even .When I wrote this short review, I was reading Buddenbrooks, and noted that it was amazing to experience again this great short story that Mann wrote many years after his first triumph with the novel.The Vintage edition pictured contains two of Mann s earlier stories which are said to be, with DiV, his most famous Tristan and Tonio Kroger view spoiler The back cover has a blurb in which it s suggested that Mann and Faulkner are the only great twentieth century novelists to have mastered the short story also This is the sort of statement which can inspire endless comment and argument How about Conrad Hemingway Joyce Updike Maugham Henry James Okay, the last one may benineteenth century Of course it s all subjective opinion as to who deserves to be called great , who mastered the short story hide spoiler Read this, you said, handing me Death in Venice, you ll enjoy it What s it about, I asked It s a story whose entire premise is based on a perverted old man lusting ghoulishly after the youth of a handsome, young boy, you said Fuck off, I shouted I don t usually go in for the old man desires the youthful essence of a boy genre, but Death in Venice spoke to me Maybe it s vanity and the fear of losing the beauty and natural exuberance of youth, or the sadness felt at the passing and irretrievable loss of those carefree days The fear of growing old and eventually dying, that inevitability of having lived, is strong in most of us We chase it with creams, ointments, dyes, jells, injections and surgery But it only comes once for all of us Even if it s the beauty of another which we wish to preserve, as is also the case with the main character in Mann s book, we must come to grips with the loss As precious as it may appear, the seeming perfection of youth is fleeting in us all Enjoy it while you can, but realize you must sooner or later let go. What do you mean, Diotima, I said, is love then evil and foul Hush, she cried must that be foul which is not fair Certainly, I said And is that which is not wise, ignorant do you not see that there is a mean between wisdom and ignorance And what may that be I said Right opinion, she repliedPlato The Symposium trans by Benjamin Jowett Fuzzy Logic is a paradigm often applied to Artificial Intelligence, though its applications may vary It s a kind of logic that was introduced in order to contrast boolean logic, wherein a variable s value is strictly either 0 or 1 Therefore, in fuzzy logic a variable may fall in the range between 0 and 1, showing aaccurate approach on how, in the real world, things are or at least should be For example according to some, a 400 page book may be mildly long, but for others, it may be slightly long, whereas for someone else it may be short We classify things this way, in fuzzy logic, not just as either black or white, big or small, zero or one, right or wrong and not even completely heterosexual or completely homosexual, in regards to sexuality Thus, it shouldn t be a scandal that a straight man feels attraction towards another man age aside , like it happened to Thomas Mann in 1911 when he took a trip to Venice where he met W adzio a boy who inspired the writer s subject of beauty, his Phaedrus, his god, his literary inspiration and fascination Whereas Mann wasn t actually as absorbed as to stalking the boy throughout the Piazza di San Marco, he certainly was compelled by him, according to his wife So one may say that this did happen On the other hand, bringing back my introductory efforts to state that emotions aren t ruled by boolean logic, Death in Venice is often regarded as a beautiful approach to queer literature beautiful as we scarcely find in great classics even though the author thereof isn t exactly queer.Mann transferred his experience in Venice to Gustav von Aschenbach, a 50 ish year old writer and widower, who after an opening scene decides to take a trip to clear his mind in order for his work to bloom again The aforementioned opening scene is that of a mysterious man in a cemetery and Aschenbach s lugubrious omen and sudden decision to go to Venice and from this point on one falls under a sort of sombre ambience and an ill spell that won t leave the reader until the final paragraph Many things happen, delightfully described, but as for the main thread, at his arrival at the hotel, andprecisely, at supper, Aschenbach meets Tadzio, a young boy who catches his attention immediately and its then when the plot begins to unravel into a deadly and dreadful ending Mann keeps symbolisms constant and fate also plays an important part, as when he intends to leave Venice due to health issues, his luggage keeps him from doing so He also makes allusions to greek mythology, especially Plato s Symposium, relating Aschenbach and Tadzio to Socrates and Phaedrus in a reverie of sorts and exposing the greek philosopher s ideas of beauty, love and the god thereof that is Eros, who resides in the loving rather than the beloved Also, Mann, in my opinion, tried to un taboo the love between two men whose ages are disproportionate using Socrates s ideal of love and to remark that there s nothing despicable about the beauty of the senses that resides in youth drawn to the kind of beauty that is rather spiritual and resides in maturity that love as we know it is rather fuzzy than boolean, and it is always beautiful and somewhat artistic The dark side of it lies in the abuse and the excess of this passion, when it becomes dangerous not only to oneself but also to the beloved, having both well beings at risk, like Aschenbach did keeping the truth about Venice to himself, in a frenzy and feverish delusion that his love for Tadzio was still pureNothing isbizarre,ticklish, than a relationship between two people who know each other only with their eyes who encounter, observe each other daily, even hourly, never greeting, never speaking, constrained by convention or by caprice to keep acting the indifferent strangers They experience discomfort and overwrought curiosity, the hysteria of an unsatis fied, unnaturally stifled need to recognize and to exchange, and they especially feel something like a tense mutual esteem For people love and honor someone so long as they cannot judge him, and yearning is a product of defective knowledgeDeath in Venice is doubtless an incredible masterpiece, not only because of its lyrical and delightful prose and because it challenges the reader to bring the barriers of taboo down, but also because of this sense of personal approach that makes a great work great that is, the writer s ability to touch and kindle our souls like Mann himself wroteBut even on a personal level, art is, after all, asublime life It delightsdeeply, it consumesswiftly It carves the traces of imaginary, intellectual adventures into the features of its servantThe rest of the stories are magnificent as well not as engrossing as the Venice but still worth reading in order to appreciate how most of their characters share the same artistic, obsessive and solitary nature of Aschenbach like Tonio Kr ger a literate young man who struggles with life in the arena of literature or Spinell, a lonesome writer in a sanatorium, found in Tristan, the novella that would later develop into The Magic Mountain Overall, there s bleakness in Mann s world, but then again, there is always beauty to be found in the bleak.Thomas Mann captivated me literarily but also personally, view spoiler and part of me died with Aschenbach in his efforts to reach beauty hide spoiler Thomas Mann is rightly one of those figures who still looms large over literature Death in Venice is regarded as one of his best works, forming an appropriate ending to this collection, but many of the other stories in this volume are also excellent, and if anything, even match the qualities of Venice Almost everything included here is worthy of any thoughtful reader s mind Many of the stories in this collection form variations on a similar theme that of young men who waste away their lives, only to come to their senses all too late Naturally, this makes it a rather melancholic read at times, but this is what Mann generally does so well the death of youth Which, is a fascinating theme to read about Although some may feel that the stories seem like templates for novels, this is certainly not the case Regardless of length, Mann s real skill is his gift for relating the high emotions of his characters in a short space of time, and he pulls it off with eaze, even when they are not obvious to those around them Because of this, the reader has to approach them with empathy although Mann s writing is not as formally inventive as some of his contemporaries, perhaps the difficulty of his work lies in its emotional nuances Fortunately, he shares the empathy of the reader in bringing his characters to life.Other than Venice my other favourites were The Will for Happiness , Harsh Hour , and Tonio Kroger Some weren t as strong as others, hense the four stars. Introduction Little Herr Friedemann The Joker The Road to the Churchyard Gladius Dei Tristan Tonio Kr ger Death in Venice a brief chronology 19xx, May purchased Bantam Death in Venice and Other Stories by Thomas Mann.19xx, June read Death in Venice in class along with two things from Dubliners, Mrs Dalloway, something from Sartre, something from Robbe Grillet, and a few other things Pretty cool 19xx, May saw the Orlando film Still have not read the novel 20xx, Sept read Little Herr Friedemann , The Joke , The Road to the Churchyard , Gladius Dei , Tristan, and Tonio Kr ger in the hops field at midnight Thought they were pretty fantastic 20xx, read Magic Mountain Very happy to have done so.20xx, today finally reread Death in Venice several years later 20 future watch some filmic translation of Death in Venice.20 still the futureMann either Joseph or the one about the composer Or Buddenbrooks auf Deutsch